new-york

View of “Daniel Subkoff,” 2013. From left: Bygone Began Begin, 2013; Dire Displacement, 2013.

Daniel Subkoff

James Fuentes

View of “Daniel Subkoff,” 2013. From left: Bygone Began Begin, 2013; Dire Displacement, 2013.

What unifies the work in Daniel Subkoff’s solo debut is an interest in physical deconstruction, in stripping the familiar painterly format back to its bare bones and observing what has been laid bare. This is hardly an original focus—the artist openly acknowledges a debt to Arte Povera—but, as Subkoff demonstrates, it’s one that can still yield revelations. It’s also a good test of an artist’s ability to do a lot with a little; there is not much more than wood, canvas, primer, and drywall in these constructions, but the condition they describe feels expansive.

In Bygone Began Begin (all works 2013), the canvas that covers a small panel doesn’t stop with the edge of the stretcher but instead continues off its top edge; the strip of canvas, perhaps twelve inches across, extends to the ceiling and continues along it for about twelve feet before dropping back down to the

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